OCTOBER 1, 1995 GAY PEOPLE'S CHRONICLE

EVENINGS OUT

'If you are at all judgmental, you don't survive in the arts

Magic Flute conductor discusses the Cleveland production, and being out in the opera world

by Richard Berrong

Talking with Stephen Lord, the conductor for Cleveland Opera's upcoming production of Mozart's The Magic Flute (October 6-8), is like basking in the full power of a summer sun. During the hour we spoke, he radiated enough warmth, life, enthusiasm, and energy to turn even a gray northeast Ohio autumn day into a cause for joy.

Lord assured those who might consider attending one of the Magic Flute performances that Cleveland Opera is presenting "a very straightforward production. It tells the story in a quite simple way; it's very clear; and it's not mucked up with heavy concept," as is sometimes the case today with certain directors.

"The production is not told with any gimmicks," Lord said. It's "a good mixture of light and dark." Those attending will get “a very nice night in the theater."

Since this production is being done in German, rather than English translation, the spoken dialogue, which is extensive in the original, is being cut down "to the essence." As Lord observed, there really isn't much point in doing all the German dialogue for an audience who does not speak German. Simultaneous translations of the remaining dialogue and all the sung passages will be run on a small screen at the top of the stage, so that those not familiar with the story will have no problems following the action.

Though he has conducted many such standard works-he is the music director of the Opera Theater of St. Louis and artistic director of the Boston Lyric Opera-Lord also has a real affinity for modern opera. Championing more recent works is an uphill battle, though, since, as he ruefully observed, very

often the premiere of a new opera also turns out to be its "derniere." Even modern works that are well received can't be brought back in subsequent seasons, since those who have seen them once seldom are willing to go again.

Still, Lord is particularly happy to have conducted, among other modern scores, Bernstein's last version of Candide, Floyd's Wuthering Heights, and Barber's Vanessa. He has not yet had a chance to see Stewart Wallace's Harvey Milk, because of his own busy conducting schedule, but is familiar with it, since his significant other did the musical preparation for the original Houston production.

"What more diversity can you have than Harvey Milk?" Lord said. “Everyone is represented there." (Could Cleveland Opera director David Bamberger be convinced to give this work a local premiere?)

At the end of the hour, I asked Lord to speak a little about what it is like to be a gay man in the world of opera today. "I don't know that it is an issue anymore," he began. "I think that it's something that is accepted; I think that it's something that isn't really talked about all that often." But, for him, "the great thing about being in the arts is that if you are at all judgmental, you don't survive in the arts. If you're sexually or racially or anything prejudiced or judgmental about other people, you just can't get on with your colleagues. You can't have homophobic people in this art form."

"I've never hidden myself in the arts world at all," he added. “And if someone doesn't like it, I don't really care."

Then, his generally ebullient voice taking on a particularly warm and happy tone, he personalized the issue further. "In real life,

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I've spent a lot of time hiding,” he explained. "But that all changed in the last week. I decided it was time to come clean, and not one of my fears [about coming out] was grounded."

In fact, he continued, happier with each word, "every single fear was met with love and understanding and support and encouragement. Now it's not going to be an issue anymore in my life," he was able to announce, "whereas it's never been an issue professionally." Coming out in his 'real' life "really made my life; it's made me want to do

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my job even more."

And on that wonderfully affirming note, we shook hands and he departed for his first orchestra rehearsal. Those who enjoy opera, or Mozart, or just a good evening in the theater can attend one of the upcoming Cleveland Opera performances to see and hear how Maestro Lord conveys his new-found peace and happiness through one of Mozart's sunniest and most radiant scores.

Tickets to The Magic Flute can be ordered at 216-241-6000.

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